anxa 
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534 


JOHN GREENWOOD 


An American-born Artist in Highteenth Century Europe 


WITH A LIST OF 


His Etchings and Mezzotints 


By FRANK WEITENKAMPF 
Chief of the Prints Division 


NEW YORK 
Tue New YorK Pus tic LIBRARY 


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REPRINTED AUGUST 19 


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FROM THE, 2 
BULLETIN OF THE NEW YORK PUBLIC LIBRARY 


OF AUGUST, 1927 


PRINTED AT THE NEW YORK PUBLIC LIBRA 


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PORTRAIT OF JOHN GREENWOOD 


From AN OriIGINaL DrawinG BY HimseELF IN THe New York Pustic Liprary 


JOHN GREENWOOD 


AN AMERICAN-BORN ARTIST IN EIGHTEENTH CENTURY EUROPE 
WITH A LIST OF HIS ETCHINGS AND MEZZOTINTS 


THE MAN AND HIS WORK 


OHN GREENWOOD, American, went abroad at an early age, and prac- 
ticed his art in foreign lands. There is no record of any engraving done 
by him in the land of his birth. Yet the very fact of his American origin gives 
a strong “Americana” interest to the collection of his etchings and mezzotints 
which has come to the Print Room of The New York Public Library. The 
collection was presented by the children of the late Isaac John Greenwood, 
of New York, in his memory. It represents one of those happy results of a 
strongly specializing spirit in collecting. It is the sort of thing that means 
years of patient hunting, a persistent energy usually beyond the power of any 
one institution. When an institution, and the public it serves, are benefited 
ultimately by such a discriminating and tireless zeal, the original collector has 
set a memorial to himself which is most enduring and satisfactory. 

John Greenwood, born in Boston, Mass., Dec. 7, 1727, died in Margate, 
England, Sept. 15, 1792, was the son of Samuel and Mary Charnock Green- 
wood, of Boston, and a nephew of Prof. Isaac Greenwood, of Harvard Col- 
lege. In 1752 he went to Surinam, “apparently in a clerical capacity,” says 
Stauffer, in his “American Engravers.” There, according to Wurzbach, he 
“did 113 portraits and drew animals and plants of the country.” From there 
(“about 1758” is the date given by Wurzbach) he went to Amsterdam, where 
he became the pupil of M. Elgersma, the engraver. (Wurzbach’s statement 
that he was also a pupil of Th. Johnston in Boston has not been verified in 
any other authority.) In Amsterdam he “painted and drew portraits; also 
historical pictures and landscapes” (so Stauffer). Wurzbach further adds 
that “in 1761 in Alkmaar he painted 33 persons with wife and children,” 
whatever that may mean. What we do know from his prints is that he exe- 
cuted, while in Holland, a number of etchings (with a leaning toward Rem- 
brandt) and mezzotints, and some plates combining both processes. And it 
seems clear also that he worked, in that country, quite in the. Dutch spirit, 

[3] 


4 THE NEW YORK PUBLIC LIBRARY 


in his original prints as well as in his reproductions of the works of others. 
In 1763, after a visit to Paris in the same year, he went — in September, if 
we again follow Wurzbach — to London, where he established himself as a 
portrait painter and mezzotint engraver. Here he apparently worked under 
the influence of the British portrait painters of the day, and it is interesting 
to note this change in his point-of-view and style. In London he remained 
thereafter, except for a visit to Holland and France, recorded by Wurzbach. 

At the exhibitions of the Society of Artists he was represented (1764— 
1776) by a view of Boston, a figure painting, a picture of a subject in 
Thompson’s “Seasons,” a drawing of shipping, a mezzotint (“Mieris and His 
Wife”), and other works. That shows that he exhibited at least after 1773, 
the year in which Stauffer says he abandoned art for auctioneering. Wurz- 
bach, once more in a tone of finality, fixes 1776 as the year after which he 
was exclusively an art dealer. 

As an auctioneer he was in business at Haymarket and in Leicester Square. 
The New York Public Library has copies of the catalogues of the sales of 
the Joseph Gulston collection of prints, held by Greenwood, “at his rooms 
in Leicester Square,” January to March, 1786. Prices and buyers at this sale 
are noted in ink on sheets inserted in the catalogues. Wurzbach reports that 
the Victoria and Albert Museum, London, has one of his marines in water 
colors, and the British Museum “a number of portrait drawings in ink, wash, 
etc., representing visitors to Greenwood’s auctions.” 

To all this, Chaloner Smith — who states that he derived his dates, etc., 
from Mr. Isaac Greenwood of New York — adds (“British mezzotinto por- 
traits” II: 599) that “Greenwood’s grandson was late Sergeant-at-arms to 
the House of Wellington, New Zealand.” 


Of the dictionaries of artists cited at the head of the Check-list of mezzo- 
tints and etchings by Greenwood, LeBlanc and Thieme-Becker—especially 
the latter — give bibliographies. 

The record of Greenwood’s activity as a print-maker is scattered through 
these dictionaries, not completely given in any one. The forming of the pres- 
ent collection, and its housing in an accessible place, constitutes, in a measure, 
a reconstruction, a rehabilitation, one might say, of this eighteenth-century 
American artist. 


- JOHN GREENWOOD — AN AMERICAN-BORN ARTIST 5 


MISCELLANEOUS PRINTS IN THE GREENWOOD COL- 
LECTION OF THE NEW YORK PUBLIC LIBRARY 


PORTRAITS OF GREENWOOD, PRINTS AFTER 
GREENWOOD’S PAINTINGS, ETC. 


. Portrait of John Greenwood as a young man. Bust, with hat, directed 
right, looking front. Tinted drawing by himself. Written in lower 
margin: “se ipse delin. oud 31, 1760. / J. Greenwood.” 714 X 6%. 
Noted in Thieme-Becker. 
Stauffer says “in 1760 he engraved in mezzotint a beautiful portrait of himself.” 


Possibly he confused the present drawing with a supposititious mezzotint. No confir- 
mation of this statement has been found. 


If “oud 31” is correct, the date of birth, 1727, is wrong, and LeBlanc’s date, 1729, 
is correct. 


. Portrait of John Greenwood. Bust, as an older man; directed left, look- 
ing front. Mezzotint. Inscription, on palette below: The Friendly 
Mr. Ino Greenwood died 1792 W. Pether fecit. J. C. Smith (Pether) 
20. 6548 X4%K. 


. Marine, with two men hanging from gallows. In the Dutch manner. 
Wash drawing by John Greenwood. [1760.] 10X13. 


With cutting from sale catalogue attached: “De Volewijk . . . Voorts het Y met 
eenige Schepen.” 


. Thomas Prince. Mezzotint by Peter Pelham after Greenwood. Boston, 
1750. J.C. Smith (Pelham) 32; Stauffer (Pelham) 2472. 


. Portrait of Thomas Hellinx. By B. van Bakker after John Greenwood. 
1761. Listed by Thieme-Becker. ReN tain IN coy. re 


. Portrait of Jan Punt, seated at table, on which are engraving tools; to the 
right, picture on easel, with palette, etc. Inscription, centre: J. Punt 
Pientre [sic! | et Graveur; left: G. V.d. Mijn pinxt.; right: Js. McAr- 
dell fecit. 14°/16X 12%. Goodwin (McArdell) 186. 


Second state, with inscription. 


. Portrait of Charles Greenwood. Mezzotint by Charles Turner, after Sir 
Thomas Lawrence. 1828. Whitman (Turner) 233. 


First state, before title. 


6 THE NEW YORK PUBLIC LIBRARY 


With the biographical and other material which came to the Library with 
the Isaac John Greenwood Collection, there was a photomechanical 
reproduction of “Scene in a public house in Surinam. / From the origi- 
nal painting by Greenwood, in the possession of Edward J. Cushing, 
Esq., North Providence.” On the back is written, in pencil: “‘Presented 
by Mr. Edward Field Clerk of the Municipal Court, Providence, R. I. 
May 16, 1899. Author of Life of ‘Esek Hopkins.’ Capt. Esek Hop- 
kins sits at table, middle centre, talking to Capt. Nich. Cook (after 
Govr.) the Artist in doorway. Painted 1752—58, but damaged since 
that date.” 


CHECK-LIST OF MEZZOTINTS AND ETCHINGS 
BY JOHN GREENWOOD 


This list, arranged in approximately chronological order, has been com- 
piled from prints in the Library’s collection, and from lists in various diction- 
aries of artists. The latter are indicated by initial letters in parentheses, thus: 


L.— LeBlanc, Charles. Manuel de amateur d’estampes. 
Paris, 1854-88, vol. 2. 


N. — Nagler, G. K. Neues allgemeines Kiinstler-Lexicon. 
Miinchen, 1837, vol. 5. 


R. — Russell, Charles E. English mezzotint portraits and 
their states. Catalogue of corrections of and of addi- 
tions to Chaloner Smith’s “British mezzotinto por- 
traits.” London, 1926. 


S. — Smith, John Chaloner. British mezzotinto portraits... 
London, 1883, vol. 2. 


T-B. — Allgemeines Lexikon der bildenden Kiinstler, begriin- 
det von Ulrich Thieme und Felix Becker. Leipzig, 
1921, vol. 14. 


W.— Niederlindisches Ktinstler-Lexikon . . . bearbeitet von 
Alfred von Wurzbach. Wien und Leipzig, 1906, 
VOloo 


JOHN GREENWOOD — AN AMERICAN-BORN ARTIST 7 


The class-mark of the Greenwood prints in the Library’s Print Room is 
MEVG. A dagger (+) before the number of an item indicates that the print 
is OVer Size. 

Whenever a given item is not represented in the Library’s collection, the 
fact is noted: * Not in N. Y. P. L. 


* 2 * 2 x x x 


Peso iinis), R. al; LeB. 6; W. 2; T-B.; N.) 
Simon Fokke. Portrait of this engraver, holding a print. After J. Buys. 


Mezzotint. 
Inscription, left: J. Buys pinxit.; right: J. Greenwood fecit. 13% X 
11°/16. 


Four impressions, slightly different in printing and cleanness of lower margin. On. 
back of one, in pencil: “Presented by / J. Chlr Smith / Author of British Mezzotintos 
/ Simon Fokke of Amsterdam / Engraver 1744.” On another: “All dealers strike 
this / portrait / the first thing” and “Simon Fokke, Amsterdam / Engraver 1744 / bot 
Wane 05<.... 65.5.0.” 
2. (W. 5.) 

Portrait of Muilman. Half-length, preaching. Between 1759 and 
1763. Mezzotint. 

Inscription, centre: WIGBOLD MUILMAN WILLEMSZ. / Geboren 
te Voorschoten den 11 November 1728. / Predikant te Hippolytushoef 
en Westerland op Wieringen / den 15 Augustus 1756 / te Edam 
den 13 November 1757, ins Gravenhage den 3 Junij 1759.; left: 
L?Croix pinxit; right: Greenwood fecit. 934 X 123%. 

‘Two impressions, one with lower margin more cleaned at right. 
feo i. Ro 1; W. 3.) 

Mozé Henriques. Portrait, half-length, seated, facing and looking front. 

Etching and mezzotint. 


Inscription, centre: MOZE HENRIQUES / Portugueesche Jood. Ge- 
booren in Rotterdam de 9° van Sprokkel-maand 1685. / Haanschou- 
wer, gij ebt mis; et is Ha Haron niet, / Die gij, (dank Greenwood’s 
konst,) na@t leeven voor u ziet = / Noch et is Habram, schoon em 
Saartje eer moest eeten; / Maar, et is MOSE, de eer der Loterij 
Profeeten. 174 61.; left: J. Greenwood, ad vivum del et fecit. 

9% x ial tes 
Pencil note on folder which came with the Greenwood Collection: “‘fecit Feb. 20, 
ool. 


Three impressions. On back of one, cutting from a sale catalogue: “. . . Handelaar 
in loteri briefjes.” 


4. (R. 3a.) 
Jan Punt. Portrait. Bust, facing and looking left. Mezzotint. 
67% X4%K. 
Attached, a cutting from a sale catalogue: “J. Punt, avec dedicace ‘aan mijn waarden 


vriendt Sweerts.’ ”” This is evidently the lettering described by Russell as “indistinct,” 
and which, excepting the last word, is indistinct in the present impression. 


8 THE NEW YORK PUBLIC LIBRARY 


5. Self-portrait. Etching. Listed in Thieme-Becker. *Not in N. Y. P. L. 


Olle ls Woda T Bie No) 
Tobias regaining his sight, Etching and mezzotint. Inscription, centre: 
Tobias; left: Remb. del.; right: JG fec. 4X 5%. 


Two impressions. One a little less cleaned in the lower margin. ‘The other has at- 
tached on mount a cutting from a sale catalogue: ““Tobie subit operation 4 Voeil, assis 
devant la fenétre. Piéce trés rare.” 

Bartsch (Gersaint) “Catalogue de... Rembrandt,” 1797, part 1, appendix, p. 161, 
lists an etching of the same subject by A. de Marcenay de Ghuy. 


Fe aed Weel aN 
Jesus Christ, the boy, among the doctors. After Rembrandt. Etching. 
* Not in Ne yee 
8. (T-B.) 
Head of Christ. Eehine: * Not in Ny Yoae 
9. (Li 3; W. 11; T-B..N.) 
Jesus Christ and Nicodemus. After Rembrandt. Etching. 
* Not in Ne Ya 
10. (L. 4; W. 13; N.) 
Venus and Cupid. Etching. Nagler says: Parker exc. 


* Not in Niaya bane 
1s 1o See ee) | 
Portrait of Caspar Crayer. Etching. * Not mm Nei. ae 
12. (T.-B.) 
Jurr Buttner. . * Not anNe Xe 
13. Head of a child, with cap, directed and looking front. Etching, after 
Rembrandt. 


Inscription, in lower left corner: “Rembrandt pinixit.; 1n lower right 
corner; J. G. fec. 7°/16X 6%. 
Probably identical with Burwood Kintje, listed in Nagler and in LeBlanc (no. 8). 
On back, cutting from a sale catalogue: ‘“‘Portrait d’enfant . . . Piéce trés rare et 
intéressante.”” 


14. (T-B.) 
Michiel Elgersma. Portrait, half-length, with three-cornered hat, seated 
at table, penin hand. Mezzotint. 51445. 


Greenwood studied under Elgersma. 
See notes to next item. 


15. (W. 14; T-B.) 

Michiel Elgersma. [Taco Hajo Telgersma?] Portrait, half-length, 
with three-cornered hat, seated at table by window, profile to left, 
drawing with crayon in holder. Etching. 

Inscription, centre: De Schoone Tekenkunst kan niet alleen bekooren / 
Aan de Eedle Jeugd; maar Zy, die Steets haar Meester kroont, 
/ Weet zelf den Ouderdom tot Oefning aan te spooren; / Gelyk de 


JOHN GREENWOOD — AN AMERICAN-BORN ARTIST 9 


Afbeelding in dees Konstprint klaar vertoond. / H. v. E.; left: 
J. Greenwood del. et fecit. 67% X 6'/16. 


In margin, in pencil: “‘Jelgersma, Schilder van Groningen.” 

Thieme-Becker lists only a portrait of Jelgersma, without description, and none of 
Elgersma. 

Wurzbach, under Greenwood, lists only a portrait of Jelgersma— evidently the pres- 
ent etching; under Jelgersma, no portrait is mentioned; under Elgersma, both these 
portraits — nos. 14 and 15 in the present list — are mentioned. In J. F. van Someren’s 
“Beschrijvende Catalogus van gegraveerde portretten van Nederlanders,” 2. deel, Am- 
sterdam, 1890, p. 293, no. 2103, the present portrait is set down as one of Jelgersma. 

C. Kramm — “Levens en werken der ... hollandsche ... Kunstschilders ... ,” 
vol. 2, Amsterdam, 1858, lists a portrait of Elgersma, with verses — the present etching 
— under Greenwood; under Elgersma the same portrait is mentioned, as well as the 
other one by Greenwood — no. 14 in the present list. 

It is quite possible, therefore, that the use of the name of Taco (or Tako) Hajo 
Jelgersma is erroneous. 


16. (W. 21; T-B.) 
Girl with candle. After Verkolje. Mezzotint. 127% X9K%. 
a. Before all letters. Trimmed close to plate-mark. 
b. With inscription, centre: te Amsterdam by P. Fouquet Junior.; left: 


N. Verkolje pinxt.; right: Greenwood fec. 
iis 


Mother suckling child. Mezzotint. 
Inscription, left: C. Troost del.; right: Greenwood fec. 11% X9. 


Two impressions, one slightly darker than the other. On back of one, cutting from a 
sale catalogue: “Soins maternels, Effet de chandelle...” 


18. 

Three-quarter length of a man wearing hat, holding pipe in right hand 
and a small bottle in the left, sitting beside a barrel, on head of which 
lie a loaf of bread, a fish, etc. Mezzotint. 10% 8%. 

On margin, in ink: “Zittende Boertje met zijn pijp.” 
19; 

Klaas Verlaan. Mezzotint. 

Three-quarter length, seated, facing and looking front, right hand Pee 
ing long clay pipe (“churchwarden”’), left hand resting on leg; sailboat 
beyond. 

Inscription, centre: Men leest de deftigheid in?t Mannelyk gezicht / Van 
de eer der Amstelhaven knechten, / Die vyf en twintig jaar betoonde 
zyne plicht / Op Schuit en Boeyer paste, en waakte voor hunw rechten. 
/ Zeilminnars ! heeft zyn aart, of Trouw u oit roldaan, / Bedankt des 
Konstnaars hand voor’t beeld van Klaas Verlaan. left: J. Greenwood 
del. et fecit. 1034 X 10%. 3 


On margin, in pencil: “Man-servant of the Amsterdam Yacht Club.” 


10 THE NEW YORK PUBLIC LIBRARY 


20. (L. 14; W. 18; T-B.; N.) 
Lady with parrot. After Metzu. Mezzotint. 1314 x 10%. 
a. Before all letters. 
On back, in pencil: “La dentelliére.” 
b. With inscription, centre: ? Amsterdam by P. Fouquet Junior.; lett: 
G. Metsu P.; right: Greenwood F. Trimmed close at top and 
sides. 
21. (W. 22; T-B.) 
Marine. After W. van de Velde. 


C. Kramm (“Levens en werken der hollandsche . . . Kunstschilders,” 


2. deel, Amsterdam, 1858, p. 602) describes this as “een woelend 


zeetje met scheepjes,” and lists four states. 
* Not in N.Y: Pate 
122, (12, 15°W.205 N>) 
Dutch interior, with a pair of lovers at the left. Mezzotint. 
Inscription, faintly scratched, left: R. Brackenberg. 1972 X13%. 


Lower margin not cleaned. 


pS 
Half-length of man, wearing cap, seated, right hand holding wine glass, 
left resting on table and holding short clay pipe. Mezzotint. 
Inscription, scratched, left: A. v. Ostade m .; vight: Greenwood f. 
5UB XAT 16. 
24. (T-B.) 
“Mieris and Wife.” Mezzotint. | 
Woman seated, holding small dog, which man, standing, is teasing; a 
larger dog at the woman’s knees, near a table. After Mieris. 
a. With frame in three tones. 12% X 977/16. 
Inscription, in scratched letters, left: F. v. Mieris pimxt.; right: 


J. Greenwood fect. 
On back, in pencil: “Engraver’s proof.” 
Lower margin not cleaned. 


b. Inscription, centre: Done after a picture of F. v. Mieris / in the 
Cabinet of HISSERENE HIGHNESS the Prince of Orange.; 
left: L. Schouman delt.; right: Greenwood fe. 


Trimmed into engraved field and into lettering. 


c. Frame removed. Print now measures 934 X 734; plate 11 X 7/ 16+ 
Inscription, in scratched letters, left: Mieris p.; right: Green- 
wood. | 


cine snrconcetiigRoercontenti see cOe SAR toch anna casa ete 
ste PRL AS ARENT NOODLE OOO OE AH EINE SATE ARL ORISA LEN EEN RIAA OEE ROA LEER ORES LONE ACE AAEEATEELAACATE ALE 


| 


nnctincien nanan nininenintnne chitin ntRit tt 


PORTRAIT OF JOHN GREENWOOD 


From a Mezzorint py W. Peraer in THe New York Pustic Lisrary 


JOHN GREENWOOD — AN AMERICAN-BORN ARTIST 11 


feeieeas: W..15> T-B.; N,) 
Card players. After Ostade. [After Teniers, says N agler. | Mezzotint. 
Inscription, in scratched letters, left: A. v. Ostade pinx.; right: Green- 
wood f. 1354 X11%. 


Lower margin not cleaned. 
On back, duplicate stamp of the Amsterdam Print Room. 


Set ks. 162 W. 12; N.) 

The saul facade After Teniers. Mezzotint. 

Inscription, centre: Published & Sold by Edwd. Orme, Bond St., corner 
of Brook St., 1814. / THE SOCIAL FRIENDS. / Afier a picture 
of the same size, painted by David Teniers.; left: J. Greenwood fecit. 
1334 X11. 

Probably a later state, with publication line added, after Greenwood’s death. 
Peer e tk. S: 1, 12; W. 16; T-B.; N.) 
Old age. After Eckhout. Mezzotint. 
_ Old man, bearded, with cap, seated before hearth. 
Inscription, centre: Behold, fond Man! / See here thy pictured life; 
pass some few years, / Thy flowering Spring, thy Summer’s ardent 
strength, / Thy sober Autumn fading into age, / and pale concluding 
Winter comes at last, / And shuts the scene. Thompsons Seasons.; 
left: G. v. Eckhout pinxt.; right: J. Greenwood fecit. 177% X 13%. 
Done for Boydell, says Nagler. “Engraved for the Boydell Collection of 1770.” 


— Pencil note on folder. 

a. Before letters. Smith 8, Ist state. 

b. With inscription. Smith 8, 2d state. 

2a (1. 13; W.17; T-B.; N.) 
The Happy Family, or Grace before Meal. After van Herp. Mezzotint. 

1832X 14%. 

“Engraved for the Boydell Collection of 1770.”— Pencil note on folder. 

a. In scratched letters, left: Van H erp pinxt.; right: Greenwood fect. 
“J. Boydell ex. 1768” written in ink in centre. Pencil note on 
back: “Het Gebed, naar van der Herp.— Proefdruk.” 

Lower margins not cleaned. 

_b. With J. Boydell excudit added in scratched letters in centre. Lower 
margin still not cleaned, but weak impression, apparently from 
worn plate. 

729. (S.4; R. 4.) 
Philip Sherard and William Tiffin. After N. Hone. Mezzotint. 
_Full-lengths, in uniform. Battle in background. 
Inscription, centre: The Honble Lieut. General Sherard, Coll. of His 


12 


ate 


Bie 


vy 


35 


THE NEW YORK PUBLIC LIBRARY 


Majesty's 69th Regt. or South Lincoln Volunteers. | When Coll. 
Commandant of the 2d Battn. of the 1st Regt. of Foot Guards, accom- 
panied by Capt. Tiffin of the Royal Artillery, relieving with his Bat- 
tallion a Piguet of / Hanoverians, who were posted in a redoubt to 
defend the passage of the Brugher Mihl, near Ameeneburgh in Hesse, 
on the 21st. of Septr. 1762.; left: N. Hone pinxt.; right: J. Green- 
wood sculpt. 197% X 16. } 

a. Before letters. Not finished. * Not in No Yn 


b. With inscription. Russell 4, 2d state. 


(S.9; R.9; L. 7; W. 6; N.) 
Rembrandt’s Father. After Rembrandt. 1764. Mezzotint. 124% xX 
{33% 
“From the original painting belonging to W. Baillie,” says Nagler. 
‘Two impressions, both before all letters, both with lower margin not cleaned. One is — 
a bit richer than the other. ‘The latter, which has lower plate-mark (lacking in the 


other), has note penciled on back: “Rembrandt’s father J. Greenwood fecit 1764, from 
original in possession of W. Baillie.” — 


(8.33 Wi 9e TB) 

William V, Prince of Orange. Mezzotint. 

Half-length, facing and looking right. 

Inscription, centre: Willem de Vyfde / Prins van Oranje en Nassau 8c 
eo Se.; left: T. P. C. Haag ad vivum pinxt.; right: J. Greenwood 
fecit. 


a. Before all letters. Smith 3, 1st state. *Not in N. Y. P. L. 
b. With inscription, as described. Smith 3, 2d state. 


‘Two impressions. 


CLT 7 Welo Bio 
Curious girls. After Greenwood. Mezzotint. 
“Greenwood inv. fec.” says Nagler. * Not in N. Y. Pils: 


The Penitent. Mezzotint. 


Woman seated in chair, leaning toward table on left. Bed at right. Cur- 
tained window in centre. 

Inscription, centre: The PENITENT. / Published as the Act directs 
Feby 1, 1768. Printed for Robt. Sayer at No. 53 in Fleet Street.; 
right: J. Greenwood fecit. 64% X 4°/16. 


JOHN GREENWOOD — AN AMERICAN-BORN ARTIST 13 


ga, 6; R.6; 1.10; W..8; T-B.; N.) 
George Whitefield. After N. Hone. Mezzotint. 
Half-length, preaching, facing slightly to the right, looking slightly to 
the left. Church window at right. 
Inscription, centre: The Reverend Mr. George Whitefield, A.M. / 
Chaplain to the Countess of Huntingdon.; left: Hone pinxt.; right: 
Greenwood feci. 147% X10%. 


a. Before all letters. Smith 1st state. eNotimNe eb Lk, 
b. As described. Smith 2d state. *INotin IN. . Pel. 


c. Plate retouched, and cut to 137g X10. Added to inscription, centre: 
London, Printed for Robt. Sayer. No. 53 Fleet Street. Like 
Smith 3d state, but without 53 after Fleet Street. Russell 3d 


state. = NotinsN. yee Le 
d. With 53 added at right, in lower right corner of plate. Smith 3d 
state. 
on ths: s RR... 7.) 


George Whitefield. After N. Hone. Mezzotint. 
Similar to the preceding (no. 34). 
Inscription, centre: The Reverend Mr. George Whitefield, A.M. Chap- 


lain to the Countess of Huntingdon.; left: N. Hone pinxt.; right: J. 
Greenwood fecit. 14 X 934, acc. to Smith; 15 X 10%, acc. to Russell. 


_a. As described. Russell 1st state. * Not in N. Y. P. L. 


b. With inscription added in centre, above title: Carington Bowles ex- 
cudit; below title: Published as the Act directs, July 1st. 1769. 
Printed for Carington Bowles, No. 69 St. Pauls Ch. Yard, 
London. PONOU In ON. \o-b Ly 


es se kh. 5; LL. 9; W. 7; T-B.; N.) . 

John Wesley. After N. Hone. Mezzotint. 

Three-quarter length, standing, directed, facing and looking right, left 
hand raised, right hand holding book. Landscape beyond at right. 

Inscription, centre: John Wesley, M. A. Fellow of Lincoln College Ox- 
ford. Chaplain to the Right Honble the Countess Dowager of Buchan. 
Done from an Original Picture in the Possession of Thos Woolridge 
Esqr of East Florida. London, Printed for Robt Sayer, Map and 
Printseller. No 53 in Fleet Street. Publish’d as the Act directs, 20th 


14 THE NEW YORK PUBLIC LIBRARY 


Decr 1770. Price 5s.; left: Nathamel Hone Pinxt.; right: John 

Greenwood fecit. 1338 (plate 15) X11. 

a. Before letters. Inscription, scratched, centre: Publish’d as ye Act 
Directs Dec 20 1770.; left: Hone pinxit; right: Greenwood 
fecit. Smith 1st state. 


Two impressions, one with the lower margin not cleaned, the other cleaned. 


b. As described. Smith 2d state. * Not in N. Y. P. L. 


c. “Plate,” says Smith, “cut 14% at top, % on left, % on right side; 
retouched; artists’? names erased, instead N. Hone pinx. | pimxt 
says Russell.] Jno Greenwood fecit.; after ‘Buchan’ A ged 67, 
price erased, instead 78.” *Notin N. Y. P. L. 


“The B. M. impression,” says Russell, “is without 78 at end of impression.” He also 
states that Woolridge has now become Wooldridge. 


37 (ek =B) 
Portrait of Nathaniel Hone. After Hone. Mezzotint. 
* Not in No Yop 


3.5) 2h Be) 
Amelia Hone. After N. Hone. Mezzotint. 
Half-length, seated, behind small table, stirring contents of cup, cap tied 
under chin. 
Inscription, centre: R. Sayer Excudit / London, Printed for Robt Sayer 
No. 53 in Fleet Street, Published as the Act directs 1 May 1771.; left: 
N. Hone pinxt.; right: Jno Greenwood fecit. 12%X9%K. 


a. Before all letters. Written in ink, left: “Hone pinxt.”; right: 
“Greenwood fec.”; centre, below plate-mark: “unfinished proof. 
—ye portrait of Mrs. Bigg, dautr. of Mr. Hone painter.” 


b. In scratched letters, centre: R. Sayer Excudit. / Published as the 
Act directs 1st Jany 1771.; left: Hone p.; right: Greenwood f. 
Russell 1st state. 


c. As described. Russell 2d state. 

— Another impression; publication line trimmed off. Differences in 
printing, e. g., light parts of chair lighter, practically no reflec- 
tion in table top. 


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